Reviews

Superstitious or Not

Dropped the movie after 45 minutes into it. This movie is said to be “based on a true story”, so I did some researching. Read several articles regarding the actual event that apparently took place and how the general public felt. As summarized above, this movie portrays a woman being cursed as a result of committing a religious taboo. I am not a superstitious person, but I also don’t want to disrespect and meddle in religious practices that I’m unfamiliar with.

I’ve come across reviews stating how immersive this movie is; it gave viewers the impression as if they’re included and part of the events occurring. With that being said, a large population of viewers in Asia (where the depicted religion stems from) felt that the movie guides its audiences to unconsciously perform/re-enact rituals leading to being cursed. Those who are superstitious or believers of these rituals felt that they were tricked into committing the religious taboos and cursed.

A solid 7-7.5/10 based on the acting, plot, and production. Excellent cinematography for a found footage film.

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Awkward Woman

This is an interesting movie, but I wouldn't say that it is for entertainment, but for thinking about foreigners integration. In today's world, in many developed countries, there are a lot of foreign tourists, travelers, workers so that the compactness of nations and states is slowly being lost. Despite all its openness to the world, Korea still proudly preserves its traditions. In this movie we have an unknown woman, a foreigner, who lives in Korea. The title of the film suggests that she is a traveler, but it seems that she would like to be a part of Korea, not just a foreign traveler. The movie touches on what I experienced myself – In Korea, everyone is very kind and friendly to me, but I still feel like a foreigner.

The foreign woman in this movie reflects the difference and clash of cultures. It was awkward and uncomfortable for me to watch her interaction with people, hugging at the first greeting, nonchalance and seeming disinterest in regards to others, irresponsibility for herself, taking private space in sitting to close to other people... The movie has a lot of interesting details, it is especially nice how some sentences and gestures are repeated by several characters to convey that there is something that connects us. In my opinion, the message of the movie is that there is a place for foreigners in Korea, but not without difficulties.

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'Boss, I Love You' is an LGBTIQ+-themed short film by Chinese filmmaker Zhang Yuan, starring singers and actors Li Quan and Lu Yulai.
Filmed in Beijing and released in 2014, the film tells the story of Hu Kun, a young car driver (played by Lu Yulai), tasked with transporting Wei Zishan, his disdainful and callous boss (played by Li Quan), from a from one place to another in the Chinese capital, without the two men exchanging a single word.
In addition, he is also responsible for taking care of the daily life of the boss, a man who is going through two crises, one of mid-life and one of marital breakdown, and occasionally comes into contact with his superior's wife (Li Xinyun) and other close people. to the character played by Wei Zishan.
The film had its world premiere in 2014 in one of the main cinemas in the Chinese capital, an opening ceremony attended by the two protagonists and the director.
With a script by Fan Jiu Wei, the 29-minute film tells how the serious and taciturn driver is responsible at work, but has his own hidden motives: he is deeply in love with his boss. Due to the enormous difference in identity and social status, added to the fact that he hides his homosexual condition, the driver represses his emotions, but secretly hopes to be able to satisfy his passions one day.
'Boss, I Love You' is the third short film by independent film director Zhang Yuan, and is also one of the works of Youku's "Master Micro Film" from 2014.
As in his landmark film, 'East Palace West Palace' (1996), director Zhang Yuan explores same-sex attraction in the context of power relations in contemporary China, this time as part of the production from the Hong Kong International Film Festival, Beautiful (2014).
While the previous film linked a hapless citizen to ruthless, seductive power ("the prisoner loves his jailer"), in 'Boss, I Love You', the conflict arises from the socioeconomic inequality that leaves the dispossessed pining for what they can't have.
Presented at the International Institute of the California University of Los Angeles (UCLA), as part of its 2014 China Screen Biennial: Spectrum, and awarded at the HK International Film Festival in 2014, 'Boss, I Love You' is co-produced by its two protagonists Li Quan and Lu Yulai.
Graduated in 1989 from the Photography Department of the Beijing Film Academy, after directing 'East Palace and West Palace', Zhang Yuan returned with a same-sex love story in 'Boss, I Love You'.
Known internationally for directing 'Mama' (1999), a combination of documentary and fiction, film and video, which was the first Chinese independent feature film since 1949 and is credited with launching the "Sixth Generation", as well as the "Urban Generation", Zhang Yuan made a series of "underground" films, often inspired by local countercultural movements, such as the indie rock scene 'Beijing Bastards', from 1993, the film 'Sons', from 1996, or the gay subculture, in which 'Boss, I Love You' is inserted.
Starting with 'Seventeen Years' (1999), the Chinese filmmaker made several successful feature films, among which 'Beijing Flickers' stands out.

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"The only thing you can do for a person who is gone is to live"

I’m always hesitant to write reviews on films based on mangas or books because people who have read them are often able to fill in the gaps with their reading experience. Having not read the manga my review will be based solely on my reaction to the film.

Shiino works for a verbally abusive boss. He’s labeled “@sshole boss” on her phone. While eating lunch she is horrified to hear on the television that her best friend has died. She discovers Mariko has already been cremated and the ashes given to her father. With little thought she talks her way into his apartment and steals her friend’s ashes at knife point. After running barefoot through town and seemingly owning only one pair of shoes, Shiino decides it’s time to take a road trip to the beach with her friend. She digs out an old pair of dilapidated Doc Martens, fumigates them, and takes the first bus out of town with Mariko’s ashes in hand.

Through flashbacks we learn that Mariko and Shiino had been friends since childhood and also that Mariko’s father had been abusing her since then. Their friendship endured many of Mariko’s cries for help and ultimatums. On her journey to take Mariko’s ashes to the ocean, Shiino suffered set-back after set-back aided only by a man dressed like the Grim Reaper who appeared whenever she needed help. While ostensibly this was Shiino’s journey through agonizing grief at her friend leaving without saying good-bye, I was always distracted by Mariko’s ongoing abuse at the hands of the men in her life. Were there no child services called or available when she showed up to school bruised and broken from head to toe on a regular basis? Did Shiino repeatedly try to get her friend to see a therapist to deal with the traumas she’d suffered? Why didn’t they call the police when one of the men beat both of them and attempted to break into their apartment or when one of Mariko’s lovers broke her arm and robbed her? Was there ever a point when Shiino stopped enabling Mariko’s self-destructive behaviors and attempted to get her the help she desperately needed? Shiino had her own issues that could have used a professional helping hand as well.

Grief and its 1000 cuts by haunting memories filled My Broken Mariko. But it also left unanswered the most important question of how both women’s lives might have been changed if they’d stop accepting whatever abuse was heaped upon them and sought to gain some agency for their own lives.

3 August 2024

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beautiful stories with amazing cast but lack of depth all around

interesting concept to try. with AI seemingly doing almost anything in the world, a service like wonderland where people can still communicate with those loved ones that are in a coma or dead is not so far fetched. still, the movie doesn't go too in depth about anything. everything is very surface level which only leaves you with questions and an incredulous look at the end. did these people have pros and cons before choosing the service? did they do it right away or when they couldn't cope with their grief anymore? the system and wonderland on its own was also never explained. we don't know how it started, why, by who, for who and if everyone is on the service or are there people against it? (much like right now in the real world). a lot of angles that could have been explored and added so much to the movie so at the end, the movie feels very lacking.

stellar cast tho. it's almost surreal to see them all in a single project

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it had potential

the plot itself is really interesting and even reminded me a lot of black mirror. the ai futuristic movies always catch my attention, especially since detroit become human is one of my favourite games and some aspects of the movie reminded me of that too…however,,

the movie had a terrible way of showing and unraveling its plot. half of the time i had no idea what was going on. and in the end the things i was curious about never really got answered?

the plot was confusing, the rules were confusing, gong yoo’s character going between reality and ai world was confusing (how was he the only one to be able to do that?) the plot with the grandma and grandson being left in the dust(really what was the point in their storyline?), and after the mother crashed the entire companys network…what did that even do? why did no one react to it?, and why was gong yoo’s character so curious and obsessed particularly by the mother?everything in the movie felt like it was added there just to fill the 2 hour mark. most of the stuff made no sense and were super vague and it felt so unsatisfying at the end?

i’ve gotten invested halfway through because like i said before its got a really good plot potential but it just seemed to be wasted…it tried to have interstellar vibes (imo) but it was just….so bad.

so many great actors in the movie made me think it wouldn’t be so bad…but i guess not.

the acting itself wasn’t bad but just…the entire movie and the plot…agh its so frustrating. definitely could’ve been done better!

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If you like simple, straightforward, heart warming romance, you will want to watch this one

10/10 is my rating. This is a 2023 Japanese Romantic movie with a run time of 110 minutes. It is based on novel "Kokan Uso Nikki" by Iiyo Sakura

First I provide a unique synopsis then review

Synopsis

When 2nd year high school student, Nozomi Kuroda (Hiyori Sakurda) finds a confession letter in her desk, she cannot believe it is from Jun Setoyama (Fumiya Takahashi) the most popular boy at the high school. Although not sure what to do at first, Nozomi writes a reply and leaves it with Jun’s gym shoes. After they exchange notes a couple of times, Jun starts his reply in a diary and writes if they fill up the diary they will date. Just when she starts to feel a connection, Nozomi learns that the letter that started it all was actually intended for her best friend, Erino Matsumoto (Mizuki Kayashima). Embarrassed by the mistake but also starting to have feelings for Jun, Nozomi decides to continue the exchange. Nozomi discovers that Jun is able to readily express his thoughts and feelings and his transparency causes her to learn to be more open herself. Nozomi and Jun also start to see each other more frequently in person as their friend groups overlap and Nozomi struggles to hide her romantic feelings for Jun. When the deception is eventually revealed, will Jun’s feelings on paper translate to genuine love for Nozomi? Or will he be disappointed he was not writing Erino after all?

Review

I loved this movie. It was a slow build, heartfelt romance. I appreciate it did not have all the over-the-top displays of physical contact and there was nothing “woke” in the storyline. I would watch it again and highly recommend it to anybody that is a fan of heartwarming romances. There were even some surprises in the plot so it was well written enough to add some intrigue.

#OurSecretDiary #KokanUsoNikki #HiyoriSakurda. #FumiyaTakahashi. #MizukiKayashima

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When devotion becomes obsession

Franco risks his life and freedom with years in prison when he begins stalking Brent Barcelon, a local celebrity. The problem is that attraction gives way to devotion and this to obsession, and that complicates things, because the Filipino prostitute boy takes his desires to the limit, showing his sickest version. He may be handsome and have a statuesque body, but behind that another truth is developing.
'Lodi', idol spelled backwards, is a low-budget, slow, soft-core Filipino porn film from 2017. The protagonist, named Franco, a young sex worker with a beautiful body, is criminally obsessed with a straight boy.
Finally Franco, who visibly does not regret his actions, takes the path of stalking, theft and violence, all with the goal of possessing the boy who sparks his obsession.
The protagonist, who realizes that he could never have a romantic relationship with Brent, pursues him, and discovers where he lives. In this way, he comes to occupy a position as a maintenance manager in his condominium, with the sole purpose of being close to the object of his obsession, without considering the ethical, criminal, legal consequences and harm to himself and other people.
As she commits her crimes, the director and cinematographer simply enjoy the view of her naked body for much of the film. I'd be lying if I said I didn't enjoy it too.
The film reflects the involution of a human being as he goes towards his wild instincts, the lowest, twisted and darkest. Franco does not like to deceive and manipulate his clients. Their friend Tiger (Carlo Mendoza), another prostitute, drugs them before robbing them. The protagonist of the story rejects this action.
However, carried away by his dangerous obsession, he also decides to commit the crime, and drugs and rape come into play.
As we can see in the images, 'Lodi' has an important erotic charge with scenes of paid sex and domination sex, but others are not real, as they are recreated in the imagination of the protagonist, who sees himself having consensual sex with Brent.
These explicit sexual scenes (completely removed from the universe of pornography) provide absolute meaning to the story of the protagonist and the plot of the film.
In every erotic drama there is an almost tacit rule: the irrationality of the acts must be recorded, stripping them of a moralistic perspective, but trying to unlock the reasons for the magnetism that leads its protagonists (again and again) to approach each other in the context of the forbidden and even crime. 'Lodi' starts from that guideline, and does it accordingly.
This homoerotic film is directed and written by Tim Muñoz, and stars JM Martinez as Franco and Ace Toledo as Brent.
It was made with a modest budget, which helps it succeed with its proposals.
JM Martinez shines in his role, reflecting an individual whose attraction for another boy grows in crescendo, giving way to an unhealthy obsession that leads him to commit unforgivable crimes. It only takes one sequence of the several that exist in the 79-minute duration, and which lasts just five minutes, to persuade the viewer of the monster that has been created.
JM Martinez's performance is overwhelming, considering that the best tool to reflect his character's obsession was to remain with an averted, inert gaze, with an imperturbable face despite everything he has been planning to carry out his evil plans.
The disruption generated by Brent's presence in the life of a young man who seems to have everything resolved in his life thanks to the sale of his body, is reminiscent of what occurs in other films by the director, such as 'Don Filipo', in the one in which a man becomes obsessed with dominating another to take away his heart and be able to achieve eternal youth.
For his part, the character played by Ace Toledo convincingly demonstrates that he is oblivious to what has been brewing around him such an abject being, whose actions border on the implausible, even within the codes of this story, where instinct takes precedence over any more thoughtful thought.
Both actors starred in 'Hombre', the first feature film by Tim Muñoz and after the short film 'Estranghero' (2016), an erotic film in which JM Martinez and Ace Toledo play LGBTQ+ characters with nude scenes and extreme sexual content.
The supporting cast also contributes with their realistic performances. It's filmed almost in a documentary style and that lends credibility to the whole storytelling aspect of the story.
In his third film, and with the erotic eye of Gregg Araki and Gus Van Sant, Tim Muñoz, whose scripts are in the Filipino vernacular, but always provide subtitles to reach an international audience, also portrays a reality in the world since Antiquity : a fan's devotion to his idol, but taken to unimaginable consequences.
We all, to a greater or lesser extent, feel admiration for an equal, for their peculiarities and characteristics. In many cases, this admiration can be identified with a type of behavior that in psychology is called "idolating", and refers to the assessment and recognition we make of another person, but exclusively focused on their positive qualities.
The ending is cruelty so harmonious with the general story.

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"Families should eat together"

The House of Us was the second full length film by director Yoon Ga Eun. This time instead of the universal theme of rejection and fitting in, she tackled how three little girls dealt with the instability of their family lives. I enjoyed this film but felt unlike the realistic portrayals of her first film that this one veered off into fantasy by the end.

Ha Na had just won the Good Classmate award at the end of the school year. Unfortunately, her family wasn’t terribly impressed. More than anything Ha Na wanted the family to eat dinner together and take a trip to the beach together. Her parents were far too busy and distracted to agree to a trip. When they were home the adults spent most of their time screaming at each other. Her older brother didn’t have the time or patience for Ha Na either. Ha Na ended up making a family of her own with two little girls she met who lived by themselves. Yu Mi and Yu Jin’s parents worked at a beach hotel and their uncle was supposed to be looking after them but he was absent most of the time. Ha Na cooked meals for the girls and helped them scare off potential renters for their apartment. They worked together to build a House of Us made of decorated boxes and egg cartons. Ha Na’s overwhelming desire for her family to take a trip together led the three children on a potentially dangerous adventure.

Yoon delved into fractured families and how children processed that information. Ha Na thought if only the family gathered around the table or on a vacation reconciliation could occur. Her little friends Yu Mi and Yu Jin believed if they kept someone from renting their apartment they wouldn’t have to move for the 8th time. Ha Na tried desperately to keep both homes and families intact in a way only a child would attempt.

As much as I liked the core story of the film I wasn’t as enamored with the narrative structure housing it. Yoon used a deux ex machina in the final quarter when Ha Na selfishly put the girls in danger despite having a logical way out. While the child actors were engaging, I never felt emotionally connected to them. House of Us didn’t shy away from the price dysfunctional parents have on children. Ha Na had to learn the painful lesson that families and made families can’t always stay together physically but can stay together in their hearts. Yoon Ga Eun crafts such interesting works of heartfelt art, I hope she is given the opportunity again in the near future.

3 August 2024

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Du Netflix

Les scènes d'action étaient pas mal et l'actrice a fait du super boulot, mais bon, c'est un énième film d'action vide niveau scénario et profondeur des personnages. Puis comme toujours avec Netflix, un drama version Hollywood. L'actrice porte le film pour moi. Mais plus de moments entre elle et sa chérie (Oui, je réfute la simple "amitié.") de moments d'elle avant et après qu'elle ait amené du soleil dans sa vie, m'aurait séduite davantage et aidé à mieux me sentir touchée. Mais bon, on n'a pas le temps de développer quoi que ce soit, ça fait des shoots cools et des scènes néons en moins.

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L'air du temps - The Flow of Time

The movie is Japan-Taiwan co-production that takes us on a journey of Jimmy who after experiencing failures in his adult life embarks on a soul-searching quest to rediscover and meet the love of his youth.
While the story itself may not be groundbreaking and unique, the narration is compelling and engaging. From the afterglow of that first love to the monotony of being a 36 year old guy, the movie effectively captures it all.

The movie explores the theme of self discovery and the importance of taking a break. Sometimes taking a break can provide clarity and a fresh perspective on life. Also sometimes detours can lead us to where we need to be!
The color contrast made it easier to differentiate between present and past scenes. The flashback scenes color tones have certain warmth to it reflecting happy memories while the present scenes were more sombre and grey to fit the melancholy vibe.

The cast delivers believable performances. Greg Hsu as Jimmy, a lost soul who evokes sympathy at times and then his energy in the flashbacks to his youth is convincing. Kiyohara Kaya as Ami does a decent job, though she could have been a bit more expressive. Michieda Shunsuke, as Koji, captures the chaotic spirit of an 18-year-old that is both charming and inspiring in his own way!

The cinematography is stunning. Some locations are so beautifully shot that they make me want to take a trip to Japan soon.

While the ending is somewhat predictable, it still has enough engaging elements to keep you sailing through.

Overall, this was a visual treat with few valuable life lessons on the way along .

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A different (but fun) kind of a Heist!

"Breaking and Re-Entering" tells a unique story; instead of a regular heist, the viewer follows a group of thieves trying to bring back the money they stole. This premise already promises a fun ride that the movie is able to fulfill from the beginning to the end. It's catchy, it's over-the-top (in the best way possible) and leaves the viewer interested througout the whole story.

The movie uses many aspects of the typical "heist movie" formular, every character has their own set of skills and have to work together to get the money or - in this case - to bring it back. At the same time, it never feels like a story told a hundred times.

The characters don't have huge backstories but that isn't needed to like them all because they have their own unique touch. Still, the movie manages to show why this group works so well.

The cast contributes a lot to it, they did a great job at portraying their characters!

Honestly, I enjoyed the movie so much that 1 hour and 40 minutes felt like a moment. (I will certainly rewatch it one day!) There's nothing I can complain about because all the aspects work well together, making this movie one of my favourites this year! So, I highly recommend watching it if you want a fun movie!

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The finest level of Korean cinema

No one would have expected another flight action movie that could give 'Emergency Declaration' a run for its money, and yet this one has done the impossible of Korean cinema which surpasses it in both technical aspects and even more so in its storytelling. The script is so well written and the plot design is having pin point accuracy, every single emotion is precisely placed, the political sentiment from both sides were also well resonated. Action sequences are terrifying enough and the final sequence is simply the best thing you could ever have in a Korean movie. The vintage setup is also visually stunning, everyone's acting is also ridiculously immersive, it is seriously a phenomenal Korean production at its finest level of commitment.

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Taglio insolitamente audace, contenuti presenti e cast (ML) di alto livello

Un film che si distanzia anni luce dai mille KDrama a cui sono ormai avvezza. L'unico elemento comune è forse la presenza del bravissimo Ji Sung, protagonista di molte serie che ho davvero apprezzato. Alle innumerevoli serie che toccano il picco glicemico con il classico bacio a stampo e dove le immancabili dita intrecciate delle mani pretendono di far saltare un battito, questo film risponde con scene esplicite e un linguaggio altrettanto diretto, devo dire senza mai scadere nella volgarità. Tolto il pesante velo della censura, c'è uno stralcio di vita reale, di discorsi e riferimenti che fanno parte del vissuto di tutti i giorni per la maggior parte delle persone. L'incipit del sesso telefonico, che poi è l'elemento che da il via all'intera vicenda, fa da miccia a una trama che in realtà va ben oltre qualche scena di nudo e due considerazioni sugli attributi maschili: emergono valori e sentimenti, scelte difficile, spaccati di vita, le difficoltà legate all'evoluzioni delle relazioni stesse tra le persone. Non manca l'ironia e nemmeno sorrisi strappati. Attori decisamente all'altezza, in primis il già citato Ji Sung che non finisce mai di stupirmi per la sua versatilità e la capacità di trasformarsi di volta in volta, con un'espressività forte ma mai uguale o stereotipata. Consigliato, non solo perchè diverso dal solito ma anche perchè merita in sè.

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